It's Oscars Weekend! Predictions & Thoughts on the Academy Awardsby Randi / February 22, 2019It’s Theatre Thursday! Today’s show is Fiddler on the Roof, playing at London’s Menier Chocolate Factory until March 9.
Even though I have known Fiddler on the Roof by heart my entire life (I think Jews are born knowing it (jk I was also in it once upon a time)), I am always surprised at how great a show it is, every time I see it. When a bit of time passes in between viewings – like now, since the last time I saw a production was the 2016 Broadway production with Danny Burstein (entirely perfection) – I’ll recall how special a show it is to me personally but forget a little bit that it is a masterpiece simply as written. And then the show starts, and it is just nonstop onslaught of perfection: fantastic song after fantastic song, utterly hilarious lines, heartbreaking emotional depth. After seeing another fabulous production of this sweeping epic show, I can’t imagine ever letting Fiddler slip from the forefront of my mind again when I think of exceptional musicals in the entire canon. London’s Menier Chocolate Factory virtually always produces top-notch productions, and its Fiddler continues the trend.
In a rather small, cramped room, the audience gets as close to the action as possible, feeling dropped into Anatevka with Tevye, his wife Golde, and their five daughters, along with all the delightful townspeople. This small space (which gets overheated fast, btw, like a real schvitz) instantly provides a different experience from other productions: with everyone on the same level, with just the floor in the middle as the stage, it’s more intimate than any big theatre with a traditional proscenium can achieve. I’m curious to see how this will change when it transfers to the West End; I hope they retain some aspects of this intimacy.
The set design uses the space wonderfully, with the small wooden houses and their pointed roofs against the one side of the room without audience rows, and the cast coming in and out of the same entrance that the audience used, passing right by my aisle seat (obviously nearest this exit; it’s a long-ass show) so close that I had to lean away several times to avoid being hit with chairs and luggage and whatever else they were carrying out. I highly recommend sitting by this door (my perfect seat was C35), because it lets you witness without a doubt my favorite aspect of this production, differentiating it from all others: the cast would continue their conversations as they exited the stage/theatre, fully in character and saying remarkable (or completely banal, but the fact that I was hearing their extra conversations made everything about it remarkable) things to each other that only I and a handful of others similarly placed could hear. That they continuously went to so much extra effort to convincingly inhabit their characters for so few people filled me with so much joy. When anyone talks to me this season about getting rid of t-shirts that no longer bring them joy I’m like, if you didn’t sit by the door in Fiddler, you don’t know squat about what brings joy, also just clean your house more.
This production stars Andy Nyman as Tevye, who was amazing as Charles Guiteau in the Menier’s Assassins a few years ago. His Tevye is sarcastic and cynical, which helps his humor come across. In his first big song, “If I Were A Rich Man”, he tries to make this overdone classic his own, with the daba deeba deeba da’s instead becoming grunts of pain as he rubs his strained forearms. I appreciated this change, not only because I do the same thing after I use battle ropes, but because it is hard to make any aspect of Tevye different after so many years and so many incarnations. I didn’t love the ugh oohs instead of the daba deebas but I loved that they tried something different. Being so close to Tevye in his moments of internal soliloquy made his impossible struggle to do right by his daughters and by his religion’s traditions more understandable than ever. His precarious perch between the paths he can choose, which he compares to that of a fiddler on the roof (you knew why it was called that, right?) is conveyed with such emotional depth. Even when he makes decisions you think are wrong, it’s difficult to really say that he’s wrong when you know how impossible his position seems to him.
The three main daughters (sorry Bielke and Spritze, but you will get your Susan B. Anthony in the annals of history when I eventually name two small dogs after you) were all a pleasant surprise. I was distracted for the entire first half because I would have bet my life that Chava (Kirsty MacLaren) was played by the actress who played Tanna on Gilmore Girls, but alas, it was not, so it’s a good thing no one took that bet. Along with Molly Osbourne’s Tzeitel and Harriet Bunton’s Hodel, all three daughters were wonderful. Even though Tzeitel seems like the main one, she doesn’t actually get much to do after “Matchmaker”, yet she made her mark. Bunton’s “Far From the Home I Love” was beautiful. Their male counterparts were great too, so great that Husbo and I decided that one of our future dogs will also be named The Tailor Motel Kamzoil (yes, in full). I have to give Stewart Clarke props for opening Act II with one of the worst songs in the musical theatre, let alone one given the crucial role of opening a second act. “Now I Have Everything” is like the even more awkward version of the end of Javert’s “Soliloquy” you know when it sounds like he hits the wrong note at the end, before it resolves? but for an entire song. That’s “Now I Have Everything”. It’s honestly mean to make actors sing this song, but Clarke’s Perchik did as great a job as is possible.
One of the best parts of knowing a show so well is being able to appreciate the tiny things they do differently. Considering how many productions of Fiddler I’ve seen, I can’t believe this was the first to have the mamas, in their verse in “Tradition”, actually whisper when they sing “a quiet home” (as in “who must know the way to make a proper home, a quiet home, a kosher home”). It’s so obvious! How has no one done that? It was adorable. Also the sons’ verse made me laugh harder than ever when they end their intro with “I hear they’ve picked a bride for me, I hope…(super long pause)…she’s pretty.” It’s such a bad line and so awkward but I LOVE IT.
In the whole three hours, there were only a few drawbacks. With a rather small company and tiny space, “L’Chaim” didn’t have the verve it usually has. While still great, it wasn’t a showstopper with its usual energy. On the other hand (as Tevye would say), this size and space let the wedding scene feel more present and real. “Chavaleh” was insanely heartbreaking because it’s impossible for it not to be, but Chava wasn’t onstage during it, so Tevye was just singing to himself. I’ve been destroyed by productions that have decided to have Chava dancing during the song, as an apparition of Tevye’s memory. I mean it was nice to just cry and not screamcry for a change, but there’s a small missed opportunity there. My only other issue was with Yente. Oy. Yente is hilarious as written (like so much of the show, surprising every time), so it’s hard to mess her up and easy to make her even funnier with a strong comic actress. This Yente was not a strong comic actress. There’s so much potential handed on a silver platter and she didn’t do anything with it. To quote Ross, “it took her what, like, what, uh, I don’t know, ahh, ughh, a WEEK? to get out a sentence?” “Yeah it’s annoying, isn’t it.”
But otherwise everything was wonderful and a powerful reminder, as always, that it’s still sadly relevant for us today. At the end, when the inhabitants of Anatevka march out of the town and out of the theatre, they had them secretly circle back through one of the houses so it made it seem like an endless trek of people. It was an effective way to get me even angrier at anyone who supports a government that turns away refugees. I was looking around at that audience through my tears and thinking ‘any of you who are crying and applauding who also voted for Brexit or harsher immigration laws are utter jackwagons.’ What can I say, no one was on their phone so I had unused anger at the ready. Anyway, Harnick and Bock are absolute geniuses and I love their damn show so forking much.
INFORMATION
The show runs 3 hours, always. Some productions are technically 2 hours 55 minutes, some are 3 and 5, it’s all roughly 3 hours and so is this one. I didn’t realize that when I was in it in high school so like all those parents watching their kids do 5 shows in a weekend really deserve medals. At least our Tevye was amazing; I cannot imagine what it is like to see a scrawny little white waspy tween whose voice hasn’t settled yet play Tevye like they have at so many other schools.
It was recently announced that this production will be transferring to the West End, giving you plenty of time to see it. Mazel!
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Tokyo Rose: New Musical has Potential but Needs Attention, + VEGAN PIZZA!
It’s Theatre Thursday! Today’s show is Tokyo Rose, a new musical that played the Southwark Playhouse until October 16.
A new musical about a true story out of World War II recently played the Southwark…and I’m not talking about Operation Mincemeat! Seriously, if this is the new direction that Southwark Playhouse is going in, I’m not complaining. What a fun niche to specialize in! Today’s actual show, Tokyo Rose, has been making the lower rounds in the past few years and after some edits and extensions, it has hit London. It has promise and potential, but it needs further work to capitalize on that.
Tokyo Rose tells the story of Iva Toguri, the Japanese-American who became a wartime radio personality in Japan and was accused, convicted, and later pardoned of treason for possibly sharing Axis propaganda. Above all, Iva was an American-born young girl whose parents send her to Japan IN THE MIDDLE OF A GOTTAM WAR because her aunt is dying and her mom wants someone to be there with her sister, even though auntie and Iva never met ever and did I say it’s the middle of a GOTTAM WAR? Iva’s mother couldn’t go ostensibly for documentation reasons and that’s very sad but like how unbelievably stupid do you have to be to send your Japanese daughter to Japan IN THE MIDDLE OF A WAR? (Also, I did further research and apparently Iva didn’t have a US passport either when she left…um…oh gosh. Maybe the mother just thought since Iva was a citizen she wouldn’t have any trouble? JE. SUS.) True Japan wasn’t yet in the war against America (that would come mere months after Iva’s arrival overseas) but for crying out loud it was already at war with China and Manchuria and Inner Mongolia and French Indochina and MORE and had already signed up with Germany and Italy by this time! I MEAN WHAT THE HELL WERE YOU THINKING?
This makes it hard for me to believe that this family could really be this ignorant of what her trip would mean. But the musical does not portray her story as though there is any grey area around Iva’s intentions, or her alleged traitorous behavior as something for us to determine for ourselves. Instead, this show is firmly and unshakeably putting forth that she was the victim of horrible injustice with endless bad luck. And it’s probably true, that it was just a series of unfortunate events and bad decisions that led her to being found guilty of treason against the USA, but man, those are some REALLY bad decisions.
The musical tells of how Iva was just an adorable little college student ready to study medicine and become just the cutest little doctor you’ve ever seen, but then the parents make their horrible decision and off she goes to begin a life of injustice and survival. The book is pretty well constructed: It begins with her treason trial and tells the story of her life through flashbacks, coming back and forth to the trial along the way. (We have enough to talk about so I am not going to rail against the creators for not being legal experts in the portrayal of the trial, but can I just mention that the trial occurred in San Francisco, so not everyone needs to have southern accents.) Although I have one huge recommendation re the trial: At one point late in Act II, the judge says ‘we will now take a 20 minute recess.’ MY GOD, how did the people involved not make that line the interval break! I MEAN COME ON YOU DON’T NEED TO BE A DRAMATURG FOR THAT ONE! Would be absolutely hysterical.
Also — the whole part of her being on the radio in Japan – you know, like the main thing she’s known for – is very confusingly done. It wasn’t clear what was happening and what if anything was going to come back to bite her, so if you didn’t know the facts coming in I imagine you’d be lost. Especially since her big ‘ooh I’m broadcasting to soldiers’ moments were loud club numbers that didn’t tell story.
And so where the show needs to focus its revisions is mainly on the score. This score makes this show effectively the shrieking Olympics. Maya Britto as Iva can sing her heart out, but wow, she shouldn’t have to destroy her voice. People complain about how badly Wicked ruins voices but all these new British scores trying to be like Six are way too heavily reliant on belting, and oftentimes it’s just shrieking. And this is very clearly trying to be like Six and & Juliet and too many more. Anyone training in classical musical theatre nowadays would not be able to do this stuff long-term. But even more frustrating, the existing score is a lost opportunity for an original original score. This shit is taking place in the 1940s, and instead of amazing Big Band numbers and a take on the Andrews Sisters, we get dance club and flashing lights. I get that the whole ‘historical tale with modern music’ is a genre now but at this point in this genre’s hopefully not-too-long shelf life, it just feels tired.
And unfortunately, the lyrics don’t do the same-sounding songs any justice. The lyrics are primarily generic platitudes, repeated over and over, like greeting card messages. It’s a bit cringey too often. I think it full out needs a new score, maybe minus 2 songs (like Iva’s big 11 o’clock number, that was fairly strong.)
One more thing I found a little eek-face is that, in the last section, they kept repeating how Iva could be the first person ever pardoned after a conviction for treason, and framing it like it was this huge moment for justice to finally be done. But, guys, her situation was very specific. Hers was a huge injustice, but they said it like everyone’s was, like it was always a criminal charge that shouldn’t exist? But everyone else convicted of treason deserved it. It was a weird thing to harp on as though treason were an unfair thing to be accused of, you know?
Honestly this show has a lot of potential because the story it tells is interesting. I hope it works on the telling and gets to do it again.
INFORMATION
Yes we are incredibly behind schedule, sorry that this already closed but hopefully my opinions can guide revisions (lol fat chance).
It was almost exactly 2 hours 30 minutes, beginning at 7:30 and ending at 10:06. It’s felt a little too long.
Southwark, like every other London theatre, does the whole ‘we recommend you wear masks but we can’t make you’ farce and so most people were not wearing masks. (Luckily the people behind us were.) Aside from that, the audience was…pretty bad! Lots of phones and talking and, our favorite part, during Iva’s big climactic moment, there was an important silence and this asshole near the front decided to OPEN A CAN OF SODA during that moment. I just. what are people. burn it all down.
PIZZA
SOUTHWARK PLAYHOUSE HAS A PIZZA OVEN NOW. And they have vegan options (not just one!). And it was really good! They said they use Sheese cheese, which no one has used in years since Violife etc came on the market and honestly I am really happy with that decision. It’s much better than I remember and no one else is using it so it’s a strong choice. We are seriously going to have pizza there before every show. Could not be more excited for a theatrical development (except for mask mandates).
The Cast & Cameos of Tick, Tick…Boom! and Why You Know Them (or Should)
By now, you may have recovered normal hydration levels after crying all weekend from the glorious movie musical ‘Tick, Tick…Boom!’, now on Netflix. A musical theatre adaptation for the ages, ‘Tick, Tick…Boom!’, Lin-Manuel Miranda’s directorial debut and a copyeditor’s nightmare (I think it’s official ‘tick, tick…BOOM!’?? nothx), is the rare passion project that is as undeniably compelling for the general public as it is fervent in its appreciation and respect for a relatively niche genre. The lovingly created film paints a fully provocative, engrossing portrait of the late Jonathan Larson, the musical theatre composer who created two incredible lasting works before an untimely death, the devastation of which has threatened to define his legacy more than his brilliant creations. Lin’s (we’re on a first-name basis btw) directorial debut is spellbinding. He treats Larson’s life story, as told through Larson’s painstaking creation of what would eventually be ‘Tick, Tick…Boom’ the stage show, as only another such creator could, fully understanding the desperation, the hope, the single-minded devotion, the heartache.
The resulting film is one so fine that it is generating tons of Oscar buzz, which the fuckers rarely give to deserving movie musicals. Those of us who have known and loved the musical TTB for years are completely satisfied with this careful and meticulous adaptation, and those who are brand-new to it join us as die-hard fans. (At least the ones I know have. Or they know better than to tell me otherwise.) And we are all left adoring this excellent film about the creative process and what artists sacrifice for their craft, about this man and all the brilliance spilling out of him, and above all about our love for musical theatre.
This last part is evidenced in all aspects of the film, and not least by the people onscreen. Lin brought out the big guns for this one. His rolodex is probably the sickest one on the planet. The musical theatre legends, the exciting up and coming talent, and the beloved performers of all ages and bio lengths who fill the screen in roles big and small and miniscule (no small parts!) act as a treat for musical theatre lovers who amid crying over how great Andrew Garfield is and how wonderful the music sounds and how beautifully the story weaving was done can shout ‘OH MY GOD THAT’S _!!!’ over and over to the delight (not delight) of anyone watching with them. In February, when we do our gigantic pre-Oscars movie review roundup, I’ll talk more about this masterpiece, but today I’m here to go through the faces we saw and what we know them from.
Main Cast
Jonathan Larson: Andrew Garfield
What you know him from: Winning a Tony Award for Angels in America, Hacksaw Ridge and other great movies, Spider-Man and other spidery movies. Also he’s Jewish; we love that.
Michael: Robin de Jesus
What you know him from: Originating the role of Sonny in In the Heights on Broadway (‘chillax! you know you lumme’ I DO LUM YOU) (p.s. In the Heights is the other best movie of 2021 these are facts); being the best part of several other Broadway shows like the Douglas Hodge La Cage. Last seen in Ryan Murphy’s Netflix adaptation of The Boys in the Band. He was also Michael in the amazing theatre-kid cult movie Camp, which I hate to tell you is almost 20 years old (gasp!).
Roger: Joshua Henry
What you know him from: Billy Bigelow in the last revival of Carousel; making his name on Broadway in American Idiot, The Scottsboro Boys (ugh talk about crying and deserving more acclaim), being the best part of Violet with Sutton Foster which is saying something since she was perfect, being part of the spellbindingly-cast-but-not-as-strong-as-it-should-have-been Shuffle Along.
Carolyn: MJ Rodriguez
What you know her from: the lead of Pose, baby! How good is Pose! How good is she on it! We cry so much!
Susan: Alexandra Shipp
What you know her from: Straight Outta Compton, the Aaliyah movie.
Karessa: Vanessa Hudgens
What you know her from: being a teen star? Gigi on Broadway (lol), Grease! Live on NBC, Rent Live. She loves doing live stuff! Fun fact: I have never seen High School Musical. I know. Not by choice, I just haven’t gotten around to it in 25 years or whatever. Funner fact: I have watched High School Musical: The Musical: The Series, which I enjoy.
Freddy: Ben Levi Ross
What you know him from: He was one of the Evan Hansen replacements on Broadway.
Ira: Jonathan Marc Sherman
What you know him from: He’s a playwright first and foremost, most recently having written Bob & Carol & Ted & Alice, which played off-Broadway and starred Jennifer Damiano and Michael Zegen (we love them).
Diner patrons in the opening number, 30/90 (what a bop right???)
Roger Bart
What you know him from: being the super creepy evil pharmacist on Desperate Housewives (I still remember how scary!), winning a Tony for You’re a Good Man, Charlie Brown; The Producers; Young Frankenstein (frahnkenSHTEEN). Currently playing Doc Brown in London’s Back to the Future musical. Fun fact: He’s the singing voice of Hercules in the amazing animated movie. HE CAN GO THE DISTAAAANCE.
James C. Nicola: long (LONG) time artistic director of the New York Theatre Workshop.
Party scene
Scott the finance guy: Ryan Vasquez
What you know him from: Before being absolutely hysterical in this movie (I mean, he is us, those of us not professionally in theatre who geek out over it wholeheartedly), Vasquez was in the original cast of Waitress and has apparently played literally every male role in Hamilton.
Fun fact (this shit is FULL OF FUN FACTS! SO FUN!): The R&B ish song playing on the boom box as Jonathan and Susan go down into the bone zone is ‘Green Green Dress’, a song from the stage version of TTB cut for the film but I believe included on the film soundtrack with a full version by Garfield and Shipp. This version in this scene is sung by Joshua Henry!
Michael’s fancy pants building
I’m sure there are lots more famouses in this scene but I could not make out their faces.
Concierge: Luis Miranda
What you know him from: being Lin’s dad, being my mom’s biggest crush (I know and she has a lot), lots of great political work, also waving to Nina in ‘Breathe’ in In the Heights movie (Lin will put his dad in everything and we’re not mad).
Doorman: Chris Sullivan
What you know him from: One of several members of Freestyle Love Supreme in this movie! He’s the one known as Shockwave. I wish I had a cool nickname. Anyway thanks to the person who corrected me since I got my Chrises Sullivan mixed up!
Parking attendant: Andrew Bancroft
What you know him from: More Freestyle Love Supreme!
Writing workshop
OKAY this is where I started really screaming. EVERYONE sitting in this room is a musical theatre creative, and I LOVE that Lin did that, solidifying that this movie and TTB in general is so much for the people it’s about. I’m not going to pretend I recognized everyone (I’m sorry but I would not know Georgia Stitt by face) but these are the ones I did yell about. If you knew all of them, bravaaa.
Jason Robert Brown: composer of all my faves, like The Bridges of Madison County, The Last Five Years, Parade, Songs for a New World. Also 13 (fun fact I sat in the front row of the first Broadway preview LIKE A NERD) and is friends with Ariana Grande as a result.
Alex Lacamoire: known for being the right-hand man of Lin when it comes to his orchestrations and generally being the best ever. Orchestrator of In the Heights, Hamilton, Dear Evan Hansen, also this movie!
Shaina Taub: composer of the great musical version of Twelfth Night; friends with my friend from Hebrew school.
Dave Malloy: MY BOY DAVE! Wild & Crazy composer of Natasha, Pierre, & the Great Comet of 1812 and other wild & crazy works like Moby Dick (SO COOL), Ghost Quartet, Octet, Preludes, and of course the f-ing nutty Beardo, which is about Rasputin, don’t forget that one.
Stephen Schwartz: composer of Godspell (which gets a hilarious shoutout later in the film), Wicked, Pippin. What a dude.
Who lives who dies Jeannine Tesori: composer of Fun Home; Caroline or Change; Violet; Thoroughly Modern Millie. A legend.
Tom Kitt: Seems very tall; Tony- and Pulitzer-winning composer of my beloved Next to Normal. Oh man, Next to Normal, guys. Also wrote Bring It On! the musical with Lin, and If/Then, which was good-not-great but has one of my favorite shower singing songs (IF WE’RE ALWAYS! STARTING OVER!)
Quiara Allegria Hudes: book writer of In the Heights the musical, screenwriter for ITH the movie, also is from Philly so COME THROUGH QUIARA.
Richard Kind: Uncle Richard as we call him. I mean, you know him from everything. He’s the greatest ever. Currently being hysterical with every single word he utters as Andrew’s father on Big Mouth.
Bradley Whitford as Stephen Sondheim
What you know him from: The West Wing, being Bradley Whitford, aging amazingly.
Hilarious music video
H.A.W.K. Smooth: Tariq Trotter
What you know him from: He’s Black Thought from The Roots. Yes Philly!
Sunday number at the diner
This is the part where musical theatre lovers wept tears of pure joy, and where everyone else became a musical theatre lover. This. Was. EVERYTHING. Everyone in that diner is a theatre legend. LEDGE.
Line cook: Lin-Manuel Miranda
Yes, the director himself. My husband heard his voice to start the scene and said ‘oh that’s Lin!’ before they showed his face. So proud, so lucky. Can you IMAGINE being in the audience of Les Mis when he did the voice at the barricade that one time?
Patrons:
Joel Grey
What you know him from: originating the emcee role in Cabaret on Broadway and recreating it for the movie, and winning an Oscar for it. The original wizard in Wicked, Moonface Martin in the unmatched 2011 Anything Goes! revival. That one amazing episode of Star Trek Voyager that made me cry.
Howard McGillin
What you know him from: the longest running Phantom in Phantom of the Opera
Chuck Cooper
What you know him from: winning a Tony for The Life. MY SISTER WAS A PROS…
Phylicia Rashad
What you know her from: I mean…do I have to say it.
Beth Malone
What you know her from: originating the role of Big Alison in Fun Home on Broadway — the costume from which she is wearing in this scene!!!! best! You may also know her from the best Best Actress in a Musical announcement at the Tonys that year, when Kelli O’Hara finally won and all the other nominees, shown in their little boxes, were clearly so happy for her, it was the sweetest ever.
Andre de Shields
What you know him from: Hermes in Broadway’s Hadestown, giving one of the best Tony acceptance speeches ever, talking to me about sweet potatoes after one of the London performances and I wish we were best friends.
Brian Stokes Mitchell. STOKES.
What you know him from: having wheels of a dream in Ragtime; Tony Award for Kiss Me, Kate; Man of La Mancha; having THAT FUCKING VOICE.
Bebe Neuwirth
What you know her from: Cheers/Frasier, revival of Chicago. That incredible episode of Will & Grace playing herself.
Renee Elise Goldsberry
What you know her from: Angelica Schuyler in Hamilton; original Nettie in The Color Purple; the final Mimi in Rent on Broadway, so she’s the one in the Rent Live filmed production, which I was in the audience for!!! It was THE BEST! We went nuts after the finale and ovated for like 30 minutes and then they were like ‘we have to do it again!’
Phillipa Soo
What you know her from: breaking Lin’s heart so good in Natasha, Pierre, & the Great Comet of 1812 off-Broadway that he cast her as Elizabeth Schuyler in Hamilton.
Bernadette Peters
What you know her from: Sunday in the Park with George (I mean, if you are IN THE SHOW that the characters are watching in this movie reverently that’s just…everything); Song & Dance; Into the Woods; A Little Night Music; Follies; Hello, Dolly!; being in the best film version of Annie; being Sondheim’s muse? being so lucky? having the best hair? Broadway Barks?
Chita Rivera: I mean, it’s Chita Rivera. Original stage Anita in West Side Story; the chief cook and bottle washer in The Rink; Kiss of the Spider Woman; original Velma Kelly in Chicago; original Rosie in Bye Bye Birdie; scary scary sexy robot lady in the musical adaptation of The Visit; Fosse’s film version of Sweet Charity. Ledge.
The 3 bums:
Daphne Rubin-Vega, Adam Pascal, Wilson Jermaine Heredia, from the original cast of Rent
Jonathan’s workshop cast
Aneesa Folds
What you know her from: another Freestyle Love Supremer! they are so talented I wanna barf.
Kate Rockwell
What you know her from: the best part of Mean Girls the musical (‘My name is Karen. I may not be smart…that’s it.’)
Gizel Jimenez
What you know her from: has been in Wicked, Avenue Q. Really enjoyed her in this I want to see her onstage!
Joel Perez
What you know him from: the original cast of Fun Home. So many of them in this!
In the extended workshop cast shown in the Sextet
Janet Dacal
What you know her from: original Carla in In the Heights! long as he keeps it clean! ay dios mio!
Kenita R. Miller
What you know her from: the best part of the flawless Once on this Island Tony-winning revival. HOT HOLY GODDAMN that show was incredible and she revolutionized her track.
The woman who buys Jonathan’s records for $50 and makes hilarious Godspell jokes
Joanna Adler
What you know her from: lots of off-Broadway work but probably most recognizable as Summer’s mother in School of Rock
The hilarious focus group
Leader: Laura Benanti
What you know her from: Gypsy, My Fair Lady, Women on the Verge of a Nervous Breakdown, stealing scenes in Sound of Music Live, being hilarious, the name my dad guesses every time a song starts on Sirius Broadway.
Micaela Diamond
What you know her from: The Cher Show on Broadway, playing the youngest Cher
Danielle Ferland
What you know her from: OG Little Red in Into the Woods!!! omg she grew up
Utkarsh Ambudkar
What you know him from: Freestyle Love Supreme, the rapper in the boy group in Pitch Perfect (hey you! with the eeeyes), Mindy’s brother on The Mindy Project
Jonathan’s parents
Danny Burstein
What you know him from: consistently gifting us amazing performances on Broadway. The Drowsy Chaperone, Luther Billis in the Kelli/Szot South Pacific, heartbreaking in Follies, Cabaret, a wonderful Tevye in 2016. Recently winning a Tony for Moulin Rouge. Being king of the adorables.
Judy Kuhn
What you know her from: original Broadway Cosette in Les Mis, Chess, singing voice of Pocahontas so the version of ‘Colors of the Wind’ that isn’t Vanessa Williams, Alison’s mom in Fun Home, Golde in Fiddler last year on the West End.
Jonathan’s agent: Judith Light
What you know her from: You know her from Who’s the Boss?, I know her from spending one summer when I lived in NYC somehow being on the exact same theatre schedule as her with seats always near each other and after a few weeks we were like wtf??? who is stalking who?
Louder than Words cameos
Jelani Alladin, when they cut to Michael the Jesus in the audience at “why so many people bleed”
What you know him from: originating Kristoff in Frozen on Broadway
Chris Jackson making SERIOUS FACE and sitting in front of Sondheim Whitford
What you know him from: original Benny in In the Heights, original George Washington in Hamilton
What my baby nephew knows him from: Mr Softee in the In the Heights movie, whose ‘tuck is boken downnn’; video upon request.
Extra treat: When Jonathan sings “what does it take to wake up a generation/how can you make someone take off and fly’, they show a split-second black & white image of the original cast of Rent. Just in case you weren’t sobbing uncontrollably already.
Obviously I didn’t get everyone and I have poor vision so shout out those I missed in the comments! and your favorite part of the movie!
